Jacobean Medley with Phillipa Turnbull at BATB

Two weeks ago I spent three enchanted days stitching crewel with a twenty other women at Beating Around the Bush. 

When the BATB program came out, I expected to be away for the first week of the event, so I booked into Phillipa Turnbull's Crewel work class for the last three days, when I expected to be back in Adelaide.

In the end I didn't go away for that week, but with the Guild Exhibition on, I'm glad I didn't try to fit in more!

Beating Around the Bush is a very different experience from a small group embroidery retreat. BATB is a chance to be part of a big group of people who come for a wide range of embroidery experiences. It shows the range of embroidery interests, from stumpwork to Solerosom, crazy patchwork, Japanese beading, crewel work, tambour and more.

Each teacher is free to set up their room with their work - including kits and other supporting bits to sell, On the first evening of my three-day class time was provided to visit other classrooms to look and buy.

Although I have travelled with Phillipa on her first Scottish Highlands Tour,  have attended two of her retreats, and booked into another one,  I have only been able to experience her teaching in a couple of two hour blocks. This was a chance to spend three whole days learning from her as an embroidery teacher.

I'm so glad I did.

Our project was A Jacobean Medley, an elegant design with a good variety of crewel stitches.  Philippa is a really good teacher. She is clear and explicit in her instructions. My technique noticeably improves from working with her. Her knowledge and skill come from years of closely examining examples of extant historical crewel work and working out exactly how they were made - down to needle angles, order and short-cuts. Not content with analysis, she practises and perfects the physical execution to ensure a comparable result. She observes and corrects posture & handling techniques in the pleasantest possible way.

I also really like the business model of The Crewel Work Company - the partnerships with museums & private collections. It is respectful, educational and ensures we understand and honour our history. It's why I go back and back.


Most teachers have their preferred hoop or frame. Phillipa works with and sells a seated hoop of the stalk variety- the same model used by the RSN when I was there. I too prefer a sit-on hoop. Mine is (I think!) a 7-8 year old Lacis one. I also have a Nurge seated frame - great for arm adjustment, but the clamp is a bit limited.

The screw holding the stem into my Lacis stand has worked loose in recent years. Tape on the wooden screw has been a fix for a while, but the problem, I suspect, is wear on the thread in the stem of the stand.

When this began to impact my work, I swapped to Phillipa's version. The screw on this one is hardened plastic, which I suspect will hold longer than the wooden version. In any case, it worked brilliantly to hold my work firm - and is continuing to do so as I finish it at home.


The best thing about BATB is the range of students (mostly women). While I recognised several members of my Guild, there are lots of overseas visitors - and a huge number of women from country towns in Australia. I met  three Victorian women whose husbands had initiated the visit - they were off exploring the Flinders Ranges while the women were at BATB.

In our class of 19 there were 3 women from Melbourne, 3 from Canberra, 2 from Sydney, 2 from Adelaide, 1 each from Tallangatta, Sale, Wangaratta, Rockhampton, Ravensthorpe, Young, New Zealand, Huston, Texas and (I think)  Gidgegannup.

And yes, I have been working steadily on my piece since the class finished. I haven't finished yet, but am making good progress - and I have an idea for using the final product, along with other crewel pieces I have, including a couple not yet stitched.

I am being reminded of how soothing and satisfying crewel work is - especially its capacity to absorb error and enable corrective work over the top rather than by unpicking! It blends and smooths.

There will be more on this as I progress!  It's a great privilege, and a lot of fun,  to be able to participate in this class in my home town.

I might even join the Guild's Crewel Work group!

BATB: Jenny Adin Christie, Whitework Buttons

I chose Jenny Adin Christie's Whitework Button class at BATB because I had purchased the kit for her 5 buttons at the last BATB two years ago. I had enrolled in her one-day class, chosen the simplest button and completed it in the day. The kit has been sitting in a drawer for two years, so I decided I should enrol again and at least complete one more button.
Jenny is a great teacher, and a class with her is a pleasure.

This time I chose what seemed to me the most complex of the buttons, the Scabiosa. It is quite large and involves shadow work, padded satin stitch, cut work, beading, French knots and a range of eyelet work. It is worked on French gauze mounted over fine linen - prepared in advance by Jenny as part of the kit.

The shadow backstitch/herringbone is worked first and then the inner eyelet circle and the padded satin stitch. The latter was for me the tricky part. - getting the satin stitch smooth. Jenny had several tips about this, which really helped.  The great advantage of working with a teacher is the very specific technique help and practice.

I made quite a lot of progress in the class - both in terms of improving my technique and in the amount I was able to do.

As I had expected in choosing this particular button, I did not finish it in class but Jenny had provided instruction in all components.









After the class I set myself to finish this button as a priority. As usual, I had only enrolled in two classes at BATB - what I can realistically take on and finish. The whitework button took me a week of working on not much else and was really enjoyable.

The outer ring of ladder stitch eyelets gave me trouble. I did not succeed in making the holes distinct enough. I need more practice in this technique.









Once again, I decided to turn the button into a brooch, rather than display it in a box, so, after backing and lacing, mounted it on the felt backing provided.

I now have two of the five buttons in the kit completed. I regard these as practice pieces rather than perfection (which is just as well!)  I am in it for the learning.

Having tackled this large and complex button, I feel more confident to proceed with the others without counting on Jenny to return to BATB three times over the next six years to finish the kit!

Now I can turn my mind to Japanese beading again.

BATB: Margaret Lee Japanese Beading

This is a quick post while Beating Around the Bush is still underway. I have done two classes - a two day Japanese Beading class with Margaret Lee and a one day Whitework Button Class with Jenny Adin Christie. Three day classes are underway this week but I have not enrolled. Two new projects is my limit - otherwise I am overwhelmed with unfinished projects and unable to consolidate what I learn.

This post focuses on the first of my classes - the Japanese Beading. I found it quite demanding. I learned heaps. I'm very glad I had done the Merrilyn Whittle projects last month as preparation. They gave me time to get an idea of the genre and know the questions to ask. All my questions were answered. While I don't see myself turning into a beader, I could see a way forward with Japanese beading as long term study and work under Margaret's tutilage. It is an art form, and apprenticeship-type learning would produce terrific results.

I used a slate frame for the first time. Margaret very generously gave up the afternoon before the class to teach us to set up our frames and projects. I can see the importance and value in setting up your beading work space. Getting the position, light and angles to suit took quite a long time and my back gave me a lot of trouble in the first day.  I did a lot of standing and walking in breaks. The second day I also took my spiky ball and massaged my sacroiliac joint at frequent intervals.

Margaret is an energetic and intelligent teacher. There were 17 in the class and she worked endlessly and tirelessly to give individual attention - analysing and helping us improve technique. We began with the simplest and easiest motifs and techniques, seeing results and achievements early, building up quickly to more complex work.

By the end of two days we had covered all techniques required. I can now use a koma and know how to place my beading shoe on my work to maximum effect. I have the beginnings of knowing how to choose beads and the importance  of a laying tool. Now it's a matter of practice and repetition. This is very much the kind of work you perfect over a lifetime and that benefits from a master-apprenticeship model. It's no wonder women come to study with Margaret from around the world on a regular basis. It is the way to learn and become skilled.                                                                                                                                   I don't think I will become expert in this genre - but if I were to do so, I'd enrol to study with Margaret. I will, however, finish this piece.

I need to set the project up properly at home so I can work on it as I get the time. I don't find working at a table comfortable and I doubt my floor frame is up to the job. I need to solve this problem later this week. 

There is a great atmosphere at BATB. I enjoyed sitting back and observing the atmosphere or talking to people in breaks. The majority, it seemed to me, were from outside Adelaide - from country towns, interstate and, like my own US house guest, from overseas. It's an important opportunity from women to pursue their passion with kindred spirits and spend time focused on something of great importance to them. Much knowledge is passed on. Many who are attending classes to learn also teach in other contexts - there is a sense of community.

The market day on Saturday saw an extraordinary array of small specialist providers display and sell their wares - things you rarely see gathered together in one place. I forgot to take photos, unfortunately. 

My next post will have some photos and progress on my white work buttons - a slightly less ambitious project, but also very beautiful.

Toy Chest Paint Box embroidery

Although I had a knitting project on the go, I found it very hard to not continue with the two remaining Toy Chest tools. The paintbox needle threader holder beckoned and I went with the call. Unlike the hobbyhorse, which required few stitches and only my normal glasses, the precision and accuracy of the geometric paintbox design meant digging out my magnifying clip-ons. However, once I was set up with light and magnification, the incentive to keep going at every opportunity was very high.

I didn't work this one in a hoop - it was easier on my  hands to keep it in the light without the hoop. Here is the first outline of the paintbox. I love getting the outline in place and a sense of the overall design.


The hardest bit was stitching the design on the first panel - the lid of the paintbox. Single thread cross-stitch on 32 count linen is not what I can do with my mind wandering!





I went with the lettering suggested for the lid - a decision I regret, but I am not unpicking. Both the "A" and the "N" are very hard to read in this lettering, but I figure the context makes it clear.


When it came to the next panel, I embroidered very plain initials, working it out as I went along. Unfortunately, I concentrated so hard on achieving the lettering I forgot to leave the space on the right-hand side to insert the needle-threader - the whole point of the paintbox! I inserted it on the left side, which, as it is only a storage device, should be fine.


The third panel was very straightforward as most of the cross-stitch was over two threads rather than one.


Next post is construction.

Toy Chest Etui - Finished (well...)

I have now finished the Toy Chest Etui and the tools that were in the original kit and class coverage. Here they are, out of the box.

Of course, at the end of the class, when Betsy Morgan offered the three new pieces she had developed, I went with the option to buy. So my sense of completion was modified by the three kits still sitting there, sending out faint 'make me' beeps. The beeps got louder as the desire to have them done and dusted grew. So I'm plunging in.



First, I have tidied up from completing the basic set, put all the instructions, left-over bits of fabric, thread and skirtex along with notes and templates into a folder and out of the way with other reference documents in my cupboard.

The workroom is ready for another project!

Toy Chest Etui - Waxer Box

The last of the tools/toys that accompany the basic Toy Chest Etui set is a waxer box in the form of a drum. The construction of this is much as it was for the thimble-keep completed in class, apart from the drumsticks constructed on the lid.

With the aid of the instructions, my original blog and my notes, the various tips came back to me.

The drumsticks were a bit tricky. The beads supplied didn't fit on the (toothpick) drumsticks provided, so rather than whittle toothpicks, I substituted slightly larger wooden beads with holes that fitted the toothpicks. They are not quite as cute - but a good colour, and within the realms of possibility.

The wax sits neatly in the box, protected by the clever end covers. This is, I think, one of the more ingenious of the tools for this Etui, and one I can see myself using.










My next post will display the finished Etui with its full set of basic tools.

Toy Chest Etui construction

17 months have past since I finished the embroidery for the Betsy Morgan Toy Chest Etui that I began at Beating Around the Bush 2012 - and a full two years since the class. I put off the construction because I needed clear space for the accurate cutting involved and we were in the midst of building work. Then other projects intervened. I was, however, determined that it should be finished before BATB 2014 in late September. So, with my quilt finished, the Toy Chest Etui needed attention.

The first thing that struck me as I got it out of its bag, was how much I had forgotten.  The instructions, on re-reading, were nowhere near as clear as that seemed two years ago. The array of teeny-tiny bits and pieces prompted only the vaguest of memories about what I might do with them.

I got more confident as I assembled the measuring and cutting tools and prepared the skirtex pieces. I decided to begin with the etui itself - the piece I could remember most clearly. I cut into the linen and the silk lining- but only the large pieces for the box.

 Once the scary cutting was over, I got into the swing of it. I rather like lacing - and it began to come together.

I had to practice a bit to get the hang of the joining stitch - which we had practiced thoroughly in class - again. It did, of course, come back to me - and there is a lot of chance to practice!


The pieces fit together quite well, using the techniques described.


Attaching the loop and bead to close the lid was a bit tricky as there is a small overhang from the lid. I attached the loop to the inside of the lid rather than the edge.

I made and inserted the optional lavender ravioli in the base.

It is really satisfying to have this completed - now to complete the little tools to fill it up!